Викладання техніко-технологічних дисциплін у КДХІ у 1920–1930-х роках

Abstract

У статті йдеться про формування у європейській культурі думки про необхідність викладання хімії та технології художніх матеріалів у вищих навчальних закладах мистецького спрямування. Наведено короткі відомості про викладачів та комплекс дисциплін з техніки й технології мистецтва, що викладалися у Київському державному художньому інституті (нині Національна академія образотворчого мистецтва і архітектури). Проаналізовані спеціальні видання українських фахівців у період 1920–1930-х років за згаданою темою During many centuries of development of the European painting its techniques and technology were inseparable and were thought of as directly connected with creative process. Mastering the drawing and painting techniques always began with studying the art craft, as the materials for painting were handcrafted in small instalments. Starting from 17th century in people’s mind the individuality of a Creator and craftsperson began to separate from each other, and this separation became dramatic in the 19th century. Since then an artist had to concentrate only on their creativity, while the production of foundations, brushes, paints, solvents, varnishes moved into the domain of chemists-technologists and art materials manufacturers. The rapid development of chemistry contributed to the synthesis of new pigments, but simultaneously the abuse of oil binders in the factory grounds often led to the rapid destruction of painting. In the nineteenth century in European artistic process there was a noticeable internal crisis. This was the era of ‘historicism’ when charm of antiquity swept all areas of architecture, art and handicrafts, creating the phenomena of eclectics and stylization. It was manifested not only in the choice of subjects and attempts to recreate the style of past eras, but in the domination of so-called gallery tone of painting. The art of the past epochs served as an ideal for artists and academics, but by that time the vast majority of paintings was under darkened varnish layers (‘patina of time’). To achieve similar effect, the artists begin to cover their works with tinted varnishes, while many are abusing dark brown tones (O. Renuar called them ‘black’), and in particular, paints of organic origin - bitumen (asphalt), which had a nice gold colour. The specific shrinkage craquelure that occurred shortly, resulted in the early damage of paintings. A brown tone of works captured the epigones of classical painting. The reigning of the aesthetics of ‘patina of time’, amid classic misconceptions about the three-stage multi-layered paintings, leads European paintings to a standstill. The way out of the crisis was the creative method of Impressionists, who discovered other methods, drastically different from the previous ones. Efforts to improve the preservation of modern paintings, on one hand, and on the other hand - to understand the features of the old masters’ works better, caused great interest of artists and research scientists of the 19th and early 20th century in old technologies and techniques of painting the past. Since the 18th, especially since the middle of the 19th century, they begin publishing ancient manuscripts and treatises on painting, often in the original language with parallel translation and commentary. Simultaneously, there are more and more attempts to practically recreate the recipes they find in medieval treatises and writings of western authors of 16th – 18th centuries. However, ancient treatises on painting techniques are very difficult to translate adequately because of the large amount of ‘dark’ places in ancient texts, lack of clear list of pigments, and often because of a lack of awareness of authors (as they were not always artists). Which is why the works of the late 19th – early 20th centuries, that presented the techniques of the old masters, were often based on combining the citations from the old works and the results of the experiments of the authors. At the same time, from the early 20th century the laboratory studies of the paintings of the past eras are gaining increasing importance; today they are an integral part of the in-depth study of works of art and their restoration. A significant role in this area of research was played by development of chemistry and physics. Since the second half of the 19th century in some schools of Western Europe future artists began studying physics and chemistry. The basis for this was the idea of more extensive education of artists – they had to be aware of the various techniques of the old masters and thus achieve significant results in their own work. In Ukraine, a significant contribution to the teaching of specialized subjects related to technology and chemistry, belongs to Lohanko couple. Fedir Pylypovych Lohanko (1884 – after 1960), who graduated from the chemistry